Ayatollah Khamenei Hanged In Naples The Provocative Work Al Vomero

Another successful attack by Ruben D'Agostino. Most commonly referred to as a "maestro d'arte civica," D' Agostino is already well-known for his artistic escapades throughout the city, including the cemetery of the trees in Posillipo and the improvised art gallery(ta) on the barriers that choked the belvedere of San Martino. Now, he has returned to Vomero, his birthplace, to further leave his artistic mark.

And he accomplished this by placing a three-dimensional installation called "L'Altalena della Libertà" in the tiny square at the intersection of Via Enrico Petrella and Via Cilea, which is extremely congested. It depicts Ayatollah Khamenei as a silhouette hanging from a tree in the open, his rope noose balanced by a swing on which a doll is perched. The doll is meant to represent the freedom that the Iranian people have lost as a result of the harsh repression of the Tehran regime.

The Shiite cleric's likeness was taken from a cartoon published in the French satirical publication Charlie Hebdo. That cartoon struck me a lot, says Ruben, so it wasn't a random selection.

In order to do this, I turned it into a three-dimensional installation that I believe serves as a warning by illustrating the preferences of the majority of earth's inhabitants. To put it another way, one's right to privacy must be unalienable.

A message that can be understood by everyone, as expressed by the Neapolitan designer and artist, who began by addressing the Iranian situation. "The choice," explains the 42-year-old artist, "fell on this little square called Largo Petrella: it could be a beautiful, welcoming little square, but since there are separate collection bells, accompanied by generalized degradation, this place has for the most part become a receptacle for garbage and bulky waste.

This is regrettable. Therefore, it is in everyone's best interest to bring attention to both the issue and everything going on in Iran at the same time.

The desire is to want to "symbolically give a hope given by beauty and freedom, recently denied to too many people. Furthermore, it is obvious that the installation will undoubtedly spark conversation as curious kids approach the swing and the hanging Khamenei and ask their parents what it is about.

Strong messages are equivalent to the strong images that distinguish my works. All of this occurs in an environment where a disregard for the surrounding area is the norm.

Ruben speaks into the Il Mattino microphones, "By combining the two messages, people also become aware of the degradation that envelops places. Indeed, it is possible to discern the various levels of awareness that the author intended to ascribe to the work from a close examination of it.

And woe to those who refer to him as a straightforward street artist. The works of D'Agostino, who funded them all on his own, have a nice message that the municipal government and the Municipality might value in some way.

He claims that he and the attorney Fabio Procaccini "carry out these artistic-civic actions, financing ourselves independently, and without any kind of sponsorship, unless there is some private person who wants to support us.". Finally, Ruben spares a thought for his Iranian coworkers who must deal with the challenges of surviving under a totalitarian government: "I think Iranian artists are already doing something extraordinary.

I believe that these individuals—whether they are artists or just regular people acting in the capacity of free men and women—are already undertaking what only a small number of people have the courage to do. In spite of the oppression in his country, the Iranian artist tries to express himself through his work.

I'm hoping they'll be able to complete it without endangering their lives. Word of Ruben D'Agostino, a master of civic art and a visual artist.

Most commonly referred to as a "maestro d'arte civica," D' Agostino is already well-known for his artistic escapades throughout the city, including the cemetery of the trees in Posillipo and the improvised art gallery(ta) on the barriers that choked the belvedere of San Martino.